While the adjectives “heroic” and “theatrical” have been used to describe Maxim’s work, it is the way in which he portrays the human figure that takes center stage. Maxim’s non-representational, mixed media paintings, which are monumental in size, create a strong bodily presence. These paintings often incorporate 3-dimensional elements that reach out towards the viewer. In addition, Maxim’s mixed media paintings utilize mark making and shapes that dynamically suggest the gestures of the human body. For example, a simple combination of rectangles and spheres can hint at a reclining figure.
Furthermore, Maxim’s artwork includes several pieces that feature 3-dimensional figures extending from the canvas. These figures either crawl across the canvas or engage in a tug-of-war, resembling marionettes. They are presented in front of dramatically painted canvases that evoke an emotional response and resist being tied to a specific location. Although the setting for these figurative artworks, whether they are wall pieces or sculptures, remains a mystery to the viewer, Maxim’s knowledge of art history is evident in his work. For instance, his piece “Blind Leading the Blind” references the Flemish Renaissance painter Pieter Bruegel.
The figures, especially the anonymous and faceless ones that populate Maxim’s work, metaphorically represent philosophical notions of the human condition. Maxim consciously constructs situations that depict common struggles. In “The Elusive Thought,” a figure attempts to cast a net, though the target remains uncertain. In “A View of the World,” another figure looks up into space through a framed screen that limits their vision. Despite addressing struggles, Maxim’s work exudes a classical beauty that highlights our connections rather than our differences. It is this delicate balance between theatrical expressionism and conscious serenity that establishes Maxim as an artistic legend.
David Maxim’s work has been exhibited extensively in California, across the United States, and in Europe.
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